Page 1 Volume 9, Issue 2 www.elysinfonia.co.uk Volume 9, Issue 2 Hon President Raphael Wallfisch Date: July 2017 Forthcoming Events September Concert Saturday 30th September 2017 Featuring interna(onal classical guitarist Craig Ogden. Rodrigo: Concerto d’Aranjuez Arturo Márquez: Danzon no. 2 Beethoven: Symphony no.2 Rimsky-Korsakov: Capriccio Espagnol Tickets Details £24/£18 (reserved) £7.50 unreserved Conc £12 in £18 seats Friends’ Password will be sent to FES members Ely Cathedral Box Office Tel: 01353 660349 hAps://(ckets.elycathedral.org/ Ely Sinfonia Enquiries Tel: 01353 721007 Mob: 07798 826880 Why not visit our website? www.elysinfonia.co.uk Orchestra Workshop Day 7th January 2018, Holst: The Planets Editors CharloAe Dean & Laura Millman Inside this Issue P1 May Concert P2 Isle of Ely Arts Fes(val Concert with Ely Choral Farewell to Chrissy P3 FES Concert Orchestral Ely Vespers P4 FES News and Renewals AGM No(fica(on Symphonic Symbiosis T he spring concert Symphonic Metamorphosis in Ely Cathedral on 4 May 2017 was first and foremost a programme of thoroughly enjoyable orchestral music. The fact that it featured works that were not well-known favourites belied the fact that all three works were filled with readily appreciated melody and rhythm. Any who did not aAend due to their not having heard of the composers involved would have been surprised at just how accessible all these works were. Hindemith’s Symphonic Metamorphoses took themes by Carl Maria von Weber and played with them in a lively and oJen very humorous way, with a lyrical third movement interleaved by way of contrast. Ravel’s Tombeau de Couperin displayed Ravel’s famed orchestra(on to full effect. Steve Bingham had worked hard in rehearsal to produce the diaphanous colours and textures in this piece, and it did indeed sound magical in the cathedral acous(c. The Franck Symphony in D minor occupied the second half: a rich, roman(c, full-blooded work with all the magnificence that a full complement of brass, percussion and a harp bring to a symphony orchestra. A feast for the eyes as well as the ears! The concept of Metamorphosis - change of shape or transi(on - is obvious in the Hindemith and the Ravel with their deliberate references to Weber and Couperin. In the case of Franck the analogy should not be stretched, but his indebtedness to the Germanic symphonic tradi(on alongside contemporary French independence from this mould called for a new formula(on on the part of the composer. All three works reveal a symbio(c, or mutually beneficial, partnership of one musical form with another. However, interes(ng though such analysis may be, none was needed in order to enjoy the sheer tunefulness and variety of the evening’s musical feast with notable solos par(cularly from the wind sec(on on superb form. CD Praise from FES Members: “I very much enjoyed the concert. I thought the Hindemith was enormous fun, and the reflec(ve ‘Le Tombeau de Couperin’ provided a very effec(ve contrast. There were some lovely rich sounds in the Franck, and it was no(ceable that several people, including me, were humming bits of it as they walked away aJerwards. Altogether the orchestra made an impressive sound, and the lady siPng next to me actually asked if it was a professional orchestra. Thank you for a lovely evening, I do appreciate how much hard work goes into these events.” SD Comments from Ellie, solo flau,st in the Hindemith: “Playing Hindemith Symphonic Metamorphosis in last night's concert was a real privilege for me. It's one of the big flute solos in the flute orchestral repertoire and quite a frightener! I have been prac(sing it on and off for nearly 20 years since I first started at music college in Manchester stud- ying for an MMus but I have never had the opportunity to play it with the rest of the orchestra un(l now. What a joy to play it in the superb sePng of Ely Cathedral with such a lovely group of people, it was a real thrill!”
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Page 1
Volume 9, Issue 2 www.elysinfonia.co.uk
Volume 9, Issue 2 Hon President Raphael Wallfisch Date: July 2017
Forthcoming Events
September Concert
Saturday 30th September 2017
Featuring interna(onal classical
guitarist Craig Ogden.
Rodrigo: Concerto d’Aranjuez
Arturo Márquez: Danzon no. 2
Beethoven: Symphony no.2
Rimsky-Korsakov: Capriccio
Espagnol
Tickets Details
£24/£18 (reserved)
£7.50 unreserved
Conc £12 in £18 seats
Friends’ Password will be sent
to FES members
Ely Cathedral Box Office
Tel: 01353 660349
hAps://(ckets.elycathedral.org/
Ely Sinfonia Enquiries
Tel: 01353 721007
Mob: 07798 826880
Why not visit our website?
www.elysinfonia.co.uk
Orchestra Workshop Day
7th January 2018,
Holst: The Planets
Editors
CharloAe Dean & Laura Millman
Inside this Issue
P1 May Concert
P2 Isle of Ely Arts Fes(val
Concert with Ely Choral
Farewell to Chrissy
P3 FES Concert
Orchestral Ely Vespers
P4 FES News and Renewals
AGM No(fica(on
Symphonic Symbiosis
T he spring concert
Symphonic Metamorphosis
in Ely Cathedral on 4 May
2017 was first and foremost
a programme of thoroughly
enjoyable orchestral music. The fact
that it featured works that were not
well-known favourites belied the
fact that all three works were filled
with readily appreciated melody and
rhythm. Any who did not aAend due
to their not having heard of the
composers involved would have
been surprised at just how accessible
all these works were.
Hindemith’s Symphonic Metamorphoses
took themes by Carl Maria von Weber and
played with them in a lively and oJen very
humorous way, with a lyrical third
movement interleaved by way of contrast.
Ravel’s Tombeau de Couperin displayed
Ravel’s famed orchestra(on to full effect.
Steve Bingham had worked hard in
rehearsal to produce the diaphanous
colours and textures in this piece, and it did
indeed sound magical in the cathedral
acous(c. The Franck Symphony in D minor
occupied the second half: a rich, roman(c,
full-blooded work with all the magnificence
that a full complement of brass, percussion
and a harp bring to a symphony orchestra.
A feast for the eyes as well as the ears!
The concept of Metamorphosis - change of
shape or transi(on - is obvious in the
Hindemith and the Ravel with their
deliberate references to Weber and
Couperin. In the case of Franck the analogy
should not be stretched, but his
indebtedness to the Germanic symphonic
tradi(on alongside contemporary French
independence from this mould called for a
new formula(on on the part of the
composer. All three works reveal a
symbio(c, or mutually beneficial,
partnership of one musical form with
another. However, interes(ng though such
analysis may be, none was needed in order
to enjoy the sheer tunefulness and variety
of the evening’s musical feast with notable
solos par(cularly from the wind sec(on on
superb form. CD
Praise from FES Members: “I very much enjoyed the concert. I thought the
Hindemith was enormous fun, and the reflec(ve ‘Le Tombeau de Couperin’
provided a very effec(ve contrast. There were some lovely rich sounds in the
Franck, and it was no(ceable that several people, including me, were humming
bits of it as they walked away aJerwards. Altogether the orchestra made an
impressive sound, and the lady siPng next to me actually asked if it was a
professional orchestra. Thank you for a lovely evening, I do appreciate how
much hard work goes into these events.” SD
Comments from Ellie, solo flau,st in the
Hindemith: “Playing Hindemith Symphonic
Metamorphosis in last night's concert was a
real privilege for me. It's one of the big flute
solos in the flute orchestral repertoire and
quite a frightener! I have been prac(sing it
on and off for nearly 20 years since I first
started at music college in Manchester stud-
ying for an MMus but I have never had the
opportunity to play it with the rest of the
orchestra un(l now. What a joy to play it in
the superb sePng of Ely Cathedral with such
a lovely group of people, it was a real thrill!”
Page 2
Volume 9, Issue 2 www.elysinfonia.co.uk
Goodbye ChrissyGoodbye ChrissyGoodbye ChrissyGoodbye Chrissy It is with much sadness that we say farewell to Chris(na
Everson. Like many good things about the orchestra, it feels
as though Chrissy belongs just to us: it’s hard to imagine she
has a fran(cally busy life outside our rehearsals where she
always appears so sunny and friendly to every player. She has
(me and encouragement for each one of us, regardless of
ability or desk posi(on.
It’s taken a trawl through the archives to track back to when
she joined us. Exactly when it was she herself couldn’t
remember, although what it was is etched on her memory.
Her bap(sm of fire was her first concert when she was landed
with the violin solo in
Rimsky-Korsakov’s
Scheherazade – difficult in
itself and worse when it is
something everyone
knows well!
When was it? Ans: May
2009. So we’ve been lucky
enough to enjoy her
playing and her company
for eight happy years. It won’t take long for the Dragon
School, Oxford to discover their good fortune. We reluctantly
say goodbye to Chrissy and send our congratula(ons and our
very best wishes for her new post and her new life. CD
Beethoven 9 in the Fens The wonderful Isle of Ely Arts Fes(val
came to a joyful conclusion on a warm
evening in July with two works evoking
the character and spirit of the Fens,
followed by the fantas(c Symphony no. 9
from Beethoven. Not forgePng a
surprise addi(on to the programme in
the form of a striking and celebratory
fanfare by the German Heinrich von
Biber which was excellently performed
by sixteen superb brass players.
The orchestra were thrilled to be
working with Ely Choral Society and
Ely Consort, not to men(on the
fantas(c soloists; Peyee Chen,
Freya Jacklin, Michael Solomon
Williams and Laurence Williams.
We are grateful to Andrew Parnell,
Director of Ely Choral Society and
composer of Fenland Images for
giving us his thoughts on the
evening.
“What a mul(-layered sense of joy
and privilege I felt during the Isle of
Ely Arts Fes(val final concert on 15th
July. The Ely Choral Society was
joining forces with Ely Consort and
Ely Sinfonia in a show of strength in
local amateur music-making, in a
demanding programme, including
Beethoven’s iconic ‘Choral’ Symphony.
That work is always challenging for
either professionals or amateurs to
perform, not least because ‘everyone
knows it’! But they don’t know the
detail in the music, nor the amount of
stamina needed, both in the orchestra
and the choir, to bring it to a resounding
performance. There was a fabulous
sense of comple(on to the whole
collabora(on project as the orchestra
rounded off the Symphony so
triumphantly.
For me, I was delighted that the choirs
managed so well in the last movement
to keep the energy levels up (as well as
the pitch!) and put over so successfully,
with the splendid quartet of soloists,
Beethoven’s paean of joy in mankind’s
brotherhood, as described in Schiller’s
poem.
Even more thrilling for me was the
invita(on to write a special work to
explore the Fes(val theme of The Fens. I
was blessed with the offers of two
poems. Fen Cra% by Hilary Parry, a
soprano in the Choral Society, gave me
the chance to describe the image of the
modern-day craJ which ply up and down
the fens, leaving their ‘brown wake’ in
which the birds could ‘fish’ for worms
and insects. I found a few words about
the life and voca(on of St Etheldreda
leading to her founda(on of the double
monastery here in Ely. The picture here
was of the plain, s(ll, almost uninhabited
fens, upon which a major place of prayer
was built at her behest. AJer this came
the dark and vivid words of Mike Rouse’s
Fen Night depic(ng mysterious creatures
who give the fens a dangerous and eerie
reputa(on. Who would be the next
unwary traveller lured by the
‘lantern-man’, ‘into the dangerous fen
and the horrors of the night’? I had a
lot of fun sePng and orchestra(ng
these texts!
My process of composi(on starts
slowly, with many ideas formula(ng
in my head and the texts speaking to
me about rhythms and melodies.
Then come the months before the
deadline when work starts in earnest
and the composi(on takes its final
shape. I had a preAy good idea about
the sounds which were going to come
out in the concert, but the live
performance exceeded my
expecta(ons, and from start to finish I
was delighted by what I was hearing
from the Choral Society and Sinfonia. It
is always a treat to hear one’s own work,
but this was a very special experience.
Both groups deserve the hear(est
congratula(ons for the dedica(on which
they brought not just to my piece, but
the whole concert. Thank you.”
AP
Andrew Parnell and Steve Bingham
Page 3
Volume 9, Issue 2 www.elysinfonia.co.uk
Concert for the Friends of
Ely Sinfonia We would like to thank Jane Francis for her wonderful review
of the FES concert which took place on the 12th February this
year:
“Do you some(mes draw up a short list of your eight
favourite “desert island discs”? (or
eighteen or twenty-eight…)
My abiding number one is Leoš
Janáček’s On the Overgrown Path.
These ten short piano pieces take me,
every (me, to another world where
things are felt and shared that cannot
be put into words. As if revisi(ng,
perhaps, those special places of
childhood summers in the
countryside, far away and long ago,
where one’s (occasionally irritable)
grandparents were always there,
gruff, tender and loving.
So imagine my excitement when I
learned that a version for string quartet was coming to Ely,
thanks to members of our very own Ely Sinfonia.
On Sunday aJernoon, their delighYul medley from Janáček’s
suite was preceded by Piazzolla’s wonderfully catchy
Libertango and Mozart’s exquisite Clarinet Quintet – two
more must-haves on that desert island! On such a raw
February aJernoon, what a treat to be transported to these
other worlds – gliAering La(n exuberance, and crystal
classical perfec(on. (I for one soon forgot how chilly we all
were – including the valiant players – in the Recital Hall.) And
then the Janáček.
Being transported by string quartet to the Overgrown Path
felt different (from the original piano experience) in a most
interes(ng way – different
countryside perhaps, higher
al(tude, more breeze and ac(vity,
less haze and reverie. Perhaps the
grandparents younger and clearer …
If you missed this you missed a
delighYul recital. A liAle consola(on
is at hand, however. Jarmil
Burghauser’s arrangement of the
Janáček for string quartet, which we
heard on Sunday aJernoon, was
recorded last year by QuarteAo
Energie Nove. So you can hear a
liAle bit at hAp://energienove.com/
news-concerts.php (even higher
al(tude, even more breeze).
For a flavour of Janáček’s original piano version, two or three
excerpts from the Hyperion recording of the pianist Marc-
André Hamelin are available at hAp://www.bing.com/videos/